naan daane oru pudhu kavithai

this song is a direct lift of ' ra ra rasputin' by boney-m. but the thamizh lyrics were good. i dont know the movie name. i think it is by vj. so we can rely on saravanan to come out with the movie name.

for the time being, i will give u the original's link and lyrics.

http://www.youtube.com/watch?v=kvDMlk3kSYg



Hey hey hey hey hey hey hey hey (4x)

There lived a certain man in Russia long ago
He was big and strong, in his eyes a flaming glow
Most people looked at him with terror and with fear
But to Moscow chicks he was such a lovely dear
He could preach the bible like a preacher
Full of ecstasy and fire
But he also was the kind of teacher
Women would desire


{Refrain}
Ra Ra Rasputin, lover of the Russian queen
There was a cat that really was gone
Ra Ra Rasputin, Russia's greatest love machine
It was a shame how he carried on


He ruled the Russian land and never mind the Czar
But the kasachok he danced really wunderbar
In all affairs of state he was the man to please
But he was real great when he had a girl to squeeze
For the queen he was no wheeler dealer
Though she'd heard the things he'd done
She believed he was a holy healer
Who would heal her son

{Refrain}

{Spoken}
But when his drinking and lusting and his hunger
for power became known to more and more people,
the demands to do something about this outrageous
man became louder and louder.

Hey hey hey hey hey hey hey hey (4x)

"This man's just got to go," declared his enemies
But the ladies begged, "Don't you try to do it, please"
No doubt this Rasputin had lots of hidden charms
Though he was a brute they just fell into his arms
Then one night some men of higher standing
Set a trap, they're not to blame
"Come to visit us," they kept demanding
And he really came

{As Refrain}
Ra Ra Rasputin, lover of the Russian queen
They put some poison into his wine
Ra Ra Rasputin, Russia's greatest love machine
He drank it all and said "I feel fine"

Ra Ra Rasputin, lover of the Russian queen
They didn't quit, they wanted his head
Ra Ra Rasputin, Russia's greatest love machine
And so they shot him till he was dead

{Spoken} Oh, those Russians...

rasikaranjani

rasikaranjani

malayamarutham is a janyam of chakravagam, 16th mela. the a/a is

s r g p d n s /s n d p g r s

if we take ni out , we get rasikaranjani.

there is a sabha called R.R.SABHA in mylapore. a very old one. music academy once used this sabha as their office, in fact their first office.

the expansion is rasika ranjani sabha. it is under renovation now. hope it gets reopened soon.

raja has composed in this raga also. 2 gems.

amudhe thamizhe from koil pura and
nila kuyile from magudi


i will give the first few notes of

amudhe

srg..srg....srgpgrs....srsds


nila kuyile

sssrs...dsrs...dsrg

vaa machan vaa from 'vandi chakkaram'

seasonal greetings. yeah its raining 'full's and 'half's in chennai too. ethanai nalaiku daan 'cats and dogs'-nu solradhu. the song am going to present makes me talk all these. it's always fun talking abt bacchanalian topics. and i swear am a teetotaller.

those who are capable, do it. those who cant, talk about it. isnt't it?

there was a time when me and my brother wud listen to anything labelled spb. 'konjam odhungu' from vasantha kalam, 'neerazhi mandapathil' from thalaivan, 'vangak kadalin karaiyoram' a tribute to mgr tuned by sg, this current song, 'judo rathinam' from soorakottai singakutti etcetera.

i heard this song while i was studying 10th, and the mention of any 'ketta vaarthai' wud elicit a 'arthabushti' smile from a curious teen.

'sarakku', 'silukku' et al were considered bad words those days.

and in this song, i wonder if spb was really drunken. so effortlessly he brings the maunderings of a man who has finished 3 rounds. oh, there r no rounds in 'saarayam', i suppose. ok a bottle and half.

just imagine the capabality of this man to make such an ordinary song into a remembered one and bringing so many improvisations to a 'veenaa pona sarakku paatu'. he is one wasim akram who can bowl 6 different deliveries in an over.

indha paatuku 3 charanam vaera. either there shud be delectable music or thoughtful lyrics to have more charanams. rendum illa indha paatula. in fact, if not for spb nobody wud even remember this song.

let me list the 'highlights' of this song

'ada yappa rasa kutty' after 'rosapoo ravikai kari nee daandi siluku'

'jivvunu' erikkum thaangipudi

sarayam, SAMSARAM, sandosham, suddenly singing the caps in a lower octave

and a scat singing in the 2 interlude. 'drualdra rancha rindum dum, rara bampa lakum bam, tara ram pam pam, jura juntu tokun din, dara rumpa ripam bam, tara rumpambam jun tan din,' i used to laugh, laugh and laugh incessantly hearing this.

thattaenda thalathai kaidhaei, un moonjila vachaena kaiya, 'ennada idhu vayathula oru madhiri iruku, speshil sarakkunu daana solli koduthan, appuram paathukalam' in the voice of m r radha.

and a 'hehhahhhaaaaaaa' siripu like kumarimuthu, ending with a azhugai 'aayaaayo thoo'. yeah including the spitting.

i bet, there is no singer in this world who can do a 'vaa machan vaa' but spb.

silk smitha got her name in this movie only, by playing the immortal siluku.

music by shankar ganesh. "lyrics" by 'kanian poongundranar'

wish u a tasmacian evening.



http://www.thiraipaadal.com/albums/ALBSHK00073.html

vaalibam vazhga from 'devi sri devi'

vaalibham vaazhga from 'devi sri devi'

spb sounds different in this song. he sometimes sings in the track singer's voice itself. ilayaraja stamp is all over the song. sjanaki also at her usual best. typical early 80's song. i think of bringing a list of typical 80 songs involving these 3 along with vairamuthu. this song is also by vm. but there shud be something in the net already. so kaettu enjoy pannale podhum.
http://raretfm.mayyam.com/stream/pow06/valibam_ds.rm

a better audio is available here:

http://www.thiraipaadal.com/albums/ALBIRR00110.html

Doris Day - Que Sera Sera

just a 2 minute song. but what a song. and what an philosophical insight. whatever will be, will be!!! from the movie 'the man who knew who too much' by alfred hitchcock.

When I was just a little girl
I asked my mother what will I be
Will I be pretty will I be rich
Here's what she said to me

Que Sera Sera
Whatever will be will be
The future's not ours to see
Que Sera Sera
What will be will be

When I grew up and fell in love
I asked my sweetheart what lies ahead
Will we have rainbows day after day
Here's what my sweetheart said

Que Sera Sera
Whatever will be will be
The future's not ours to see
Que Sera Sera
What will be will be

Now I have children of my own
They ask their mother what will I be
Will I be handsome will I be rich
I tell them tenderly

Que Sera Sera
Whatever will be will be
The future's not ours to see
Que Sera Sera
What will be will be
Que Sera Sera




jikki sang the thamizh version of this song. 'chinna pennana podhile' from aaravalli. though it is not a literal translation, the lyrics resembles the original. 'vennila nila nila..........que sera sera.......... music g.ramanatha iyer.


http://www.tfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/chinnappen.rm

mozart's symphony no.40 1 movement.

one of my favourites

jothe alle from geetha

jothe alle from geetha

this song sung by spb and another gud (looking) singer on asianet. the orchestra is also gud, although they play the same interlude. still that interlude is almost perfect. very good one.
http://www.youtube.com/watch?v=IKc5ia-N0Ak

original of 'vizhiyile' and 'jaane do na'. spb and sj enjoying a great melody offered to them on a silver salver by maestro.

galeer galeer from devathai 1979

i vaguely remember hearing this song in a.i.r. but some songs are like phoenix, they rise from their ashes and haunt their listeners after generations.

one of the reasons why md shyam is remembered even after he stopped composing some 25 yrs.back. songs like these.

it reminds me of another song in the same scale 'vaanamenum veedhiyile', especially the line 'maadhaavai kaettu sollungal' sounds similar to 'sollungalaen vaaradho inbangale'.

sung by s.janaki it is surely sotd stuff. hope people take note.

one of the few songs that starts with a adukku thodar in tfm. i think that only has made this song arise from by buried memories.

is galeer galeer adukku thodar or rettai kilavi. galeer has some meaning, eventhough it represents a sound. so it is adukku thodar,i conjecture.

oisg, with ur flair for othai kilavi and rettai kilavi, pl. clarify.

http://ww.smashits.com/player/flash/flashplayer.cfm?SongIds=15439

http://music.cooltoad.com/music/song.php?id=179150

carl orff's carmina burana and kate winslet.

this video i added mainly for carl orff's 'o fortuna' from carmina burana. he was a german composer who lived for almost 100 yrs. there is no orchestra in the world today which has not played his 'o fortuna' and there are innumerable versions of this piece. gr8 music.

vamsi and his irksome abilities

mostly ir uses his good melodies in other languages also. but some songs remain only in one language. this is one such song. best of ir, spb and sj. forgive vamsi, if u could. vamsi handpicks the worst expressions of an artist and makes a song out of it. i wonder what wud be in his mind while picturising!!! i greatly admire ir for his patience and condescension with vamsi.



if u think my comments on vamsi are blatant, please watch this video. it is his obduracy to intertwine ostentatious comedy irrespective of the situation on the screen, that is the reason for my contention. it can be termed otherwise also. a thamizh word that comes immediately to my mind is 'kirukku thanam'. and this guy's works are kirukathanam personified.

Ivo Pogorelich plays Beethoven's "Fur elise"

moonlight sonata by lv beethoven

zulu

Lance Klusener
'I've been lucky to be able to play like I do'
Zulu talks about the Cronje years, fishing, finishing, and reinventing yourself

Interview by Sriram Veera
November 21, 2008

'If I look back, I probably don't want to change anything' © Getty Images

We all know cricket is bigger than the individual.

I always try to finish games with six balls to spare, because if there is a cock-up, the people coming in get a chance to do something. If you leave it to the last couple of balls then it can go anywhere.

When the match-fixing news broke, my first reaction was denial. It was pretty hard for me to take at that time. It was something you take time to get over.

I had a good time playing for South Africa. I made lots of friends. Now I've done it overseas. If I look back, I probably don't want to change anything.

If the captain shows confidence in you, you start to respect that. If the team is in trouble and he throws you the ball or thinks you can chase the score down, it feels good. The confidence and trust is most important. It rubs off on the field as well.

My most satisfying chase was Jo'burg against Australia in 2000. Mark Boucher and myself put a hundred or so. It was a game that worked perfectly to plan. We finished with an over to spare. We were always up with the rate, our calling was clear, and we targeted specific bowlers. That game springs to mind. It was very satisfying.

Everyone has their own style of batting. You can't necessarily learn flair. You need to just express yourself.

We had a great relationship with Cronje and it was quite tough, suddenly not having him there. We would go through a wall for him. Playing under him was the best time of my career. He was tremendous with youngsters like me, Shaun Pollock, Boucher and Jacques Kallis. He had the confidence in us that allowed us to express ourselves.

You see me hitting the ball out of the ground, but I hit hundreds of those in practice. It may look like a good shot and it is, but you have practised it a hundred times before the game.

Every single person has his or her own temptations. If you said that you haven't ever succumbed to a temptation, whatever be it, you are not probably telling the truth.

Shaun [Pollock] has a wise head. He knows the game.

Once someone has a crack at you, you end up having to defend yourself all the time. It's not something to defend. If [Graeme] Smith didn't want me in the team, then fine. It was not the end of the world.

I actually don't face the bowlers too much in the nets. Sometimes you can leave the nets not feeling good at all, because the bowlers have bowled well! I am someone who believes you must feel good after a net, so I face some throwdowns.

One more match, and it would have been 50 Tests for me. That would have been nice, I guess, but I'm not a stats man, so it doesn't bother me. If you are scoring runs and taking wickets, you can play 100 Tests. I wasn't doing that, to be honest.

You can't live on your reputation.

When you're in the zone and you're totally focused on the ball, you get an invincible feeling. It's not as soon as you come in to the crease: you play a few balls, get going, then suddenly you find yourself in that zone. If only I knew how I get there, it would be fantastic (smiles).

Match-fixing was something you heard about. When someone actually said, 'Do such and such', you thought he was joking. That's how I thought then. It's not for me to judge Cronje. It's a very very sad story.

I have been lucky to be able to play like I do: it's being blessed with the ability and getting the opportunity to finish games.

When it comes to fishing, it's about the expectation. You don't know what you're going to catch. Also, the challenge of getting a fish at the end of your line. And just getting away from the hustle and bustle, going to a place where there are no people.

Where I can, I hit a lot of balls against the bowling machine. Then I ask the coach to bowl balls where I can hit over his head. With that you get the feeling of how far you have to hit the ball. I like to hit balls outside the nets to see the ball go.

When you're playing for yourself, you become more selective and you play with less freedom. You think 20 not out is better than 10 out, you know. It curtails the freedom.



When you're in the zone and you're totally focused on the ball, you get an invincible feeling

It's nice to come to places you enjoy. I was telling my friends about how people here in India wear cricket helmets and drive - we had a chuckle. I get a lot of enjoyment from stepping out on the streets, and seeing how other people live.

When you don't have pace you can still get wickets by bowling cutters and stuff. It takes a while to tell yourself, but eventually you realise when you are trying to bounce someone and it disappears front of square!

I like to leave cricket on the field.

You pick up injuries and you get wiser and need to adapt. That is the nature of the sport. You need to fit in the role that the team needs you to play.

Cricket is not the be-all and end-all. When I'm on the field I'm trying my hardest, trying to win, but in the end it's only a game.

ICL has given some of us older guys the chance to give something back to cricket, and help the youngsters here. It has been very satisfying, helping the kids. Hopefully we can get sanction soon, and some of these youngsters can represent India some time. If ICL produces four or five guys who are vying for a spot for India, it would have done its job.

I will continue to play as long as I am enjoying it. As long as it's not sore getting out of bed. I am 100% fit. Playing cricket is a good way to make a living.

Twenty 20 cricket is lovely. Three hours and done and dusted. It gives you a chance to be tremendously competitive while putting less strain on you.

If you are knocked over early, you can't do much about it. Of course, there's more time for fishing!

Sriram Veera is a staff writer at Cricinfo
© Cricinfo

http://content-ind.cricinfo.com/magazine/content/current/story/376321.html

manidha manidha from 'kan sivandhal man sivakkum'

prelude, 1 bgm and 2 bgm of the above song

http://music.cooltoad.com/music/song.php?id=393339

lyrics :

Pallavi:
manitha manitha ini un vizhigal sivanthaal ulagam vidiyum

vizhiyil vazhiyum udhiram muzhudhum ini un saridham ezhudhum

asaiyum kodigal uyarum uyarum nilavin mudhugai urasum

manitha manitha ini un vizhigal sivanthaal ulagam vidiyum



Charanam 1:
Sila aarugal meerudhada

varalaarugal maarudhada

pasiyaal pala yezhaigal saavadhu enbadhu
desiyamaanadhada

ini then varum enbadhum paal varum enbadhum
josiyamaanadhada

ada saataigale ini theervugal enbadhu
soosakamaanadhada



Charanam 2:
Oli veesuga sooriyane

yugam maarudhu vaalibane

oru tholviyilla pudhu velviyinaal ini sodhanai
theerndhuvidum

sila aayiram aayiram sooriya dheepangal bhoomiyil
thondrividum

ada saamaram veesiya paamara jaathigal saadhanai
kanduvidum



manitha manitha ini un vizhigal sivanthaal ulagam vidiyum..........................

ye zindagi usiki hai

this song from the movie anarkali is a classic rendition by lata mangeshkar. c. ramachandra is the music director and this is his best musical ever. released in 1953 it was the biggest grosser of the year.

in thamizh also, the tune was used in the song ' en sindhai noyum theerumo' from the film kaveri sung by jikki.

lyrics of 'ye zindagi usiki hai'

yeh zindagi usi ki hai jo kisi ka ho gaya
pyaar hi mein kho gaya
yeh zindagi usi ki hai jo kisi ka ho gaya
pyaar hi mein kho gaya 
yeh zindagi usi ki hain ...

yeh bahaar yeh sama keh raha pyaar kar
kisiki aarzoo mein apne dil ko beqarar kar 
zindagi hai bewafa loot pyaar ka mazaa 
yeh zindagi usi ki hai ...

dhadak raha hain dil to kya dil ki dhadkane na gin
phir kahaan yeh phursatein phir kahaan yeh raat din
aa rahi hain yeh sada mastiyon mein jhum jaa
yeh zindagi usi ki hain ...

do dil yahaan na mila sake, milenge us jahaan mein
khilenge hasaraton ke phul, maut ke aasman mein
ye zindagii chali gai jo pyar mein to kya huaa
ye zindagii ...

sunaa rahii hai daastaan, shamaa mere mazaara kii
fizaa mein bhii khil rahii, ye kalii anaara kii
ise mazaara mata kaho, ye mahala hai pyaara kaa
ye zindagii ...

ai zindagii ki shaama aa, tujhe gale lagaauun main
tujhii mein Dub jaauun main
jahaan ko bhuula jaauun main
basa ek nazara mere sanama, alvidaa, alvidaa
alvidaa ...
alvidaa ...
alvidaa ...
alvidaa ...

http://in.youtube.com/watch?v=1Yf8C7swHZ0

hame tumse pyar kitna ye ham nahin jaante

this song is a ghazal type song with lyrics being the main attraction. but the music of r.d.burman is so lilting and the dulcet voice of kishore da makes it an evergreen melody.

let me try to do a saravanan here.

produced by b.s.khanna and directed by chetan anand, this movie was released in the year 1981. it starred hema malini, rajkumar, rajesh khanna and vinod khanna and was a family drama.

majrooh sultanpuri has penned the beautiful lyrics to the mellisonant tune of pancham.

i heard this song only recently some 5, 6 years back. but i have heard the instrumental music of this tune long back in early 80's. it was used as a standard filler during hindi programmes (delhi anjal) in vividh bharathi.


enjoy the song with lyrics:

Hame.N Tum Se Pyaar Kitanaa, Ye Ham Nahii.N Jaanate
Magar Jii Nahii.N Sakate Tumhaare Binaa
Hame.N Tum Se Pyaar ...

Sunaa Gam Judaai Kaa, Uthaate Hai.N Log
Jaane Zi.Ndagii Kaise, Bitaate Hai.N Log
Din Bhii Yahaa.N To Lage, Baras Ke Samaan
Hame.N I.Ntazaar Kitanaa, Ye Ham Nahii.N Jaanate
Magar Jii Nahii.N Sakate Tumhaare Binaa
Hame.N Tum Se Pyaar ...

Tumhe.N Koi Aur Dekhe, To Jalataa Hai Dil
Ba.Dii Mushkilo.N Se Phir, Sambhalataa Hai Dil
Kyaa Kyaa Jatan Karate.N Hai.N, Tumhe.N Kyaa Pataa
Ye Dil Beqaraar Kitanaa, Ye Ham Nahii.N Jaanate
Magar Jii Nahii.N Sakate Tumhaare Binaa
Hame.N Tum Se Pyaar ...


Hame.N Tum Se Pyaar Kitanaa, Yah Ham Nahii.N Jaanate
Magar Jii Nahii.N Sakate Tumhaare Binaa
Hame.N Tum Se Pyaar Kitanaa ...



http://www.imeem.com/inturnaleyes/music/S7TC6tjp/kishore_kumar_hume_tumse_pyar_kitna/

http://www.youtube.com/watch?v=NClR64qT6Bk

ila manadhu video

vidhi valiyadhu. my friend krishnan asked for the video of this song. and alas i found it on the net. i can't say 'enjoy this video'.  maybe i can say 'curse ur own karma'

ila manadhu video.

Find more videos like this on video.filestube.com.

our culture

'gali leo was the first to tell the world that it is round in shape and it revolves round the sun', thus read

my brother's son from his 6th standard text book. how foolish, as if nobody knew it before galileo.

this is what our children learn in their schools. we can not change the syllabus or influence ncert to publish

some relevant truth about our culture and our heritage. because they are 'intellectuals' who accept

only what 'foreign' authors say about our culture and accept only 'scientific' facts and not anything

else. even if they say something great our intellectuals will not accept it.

at least we can teach our children what our rich heritage and culture is, only if we know something about

the same. i see so many people talk about kamal hasan's dasavatharam and referring to the dalit character

as 'poovaragavan'. it is actually 'bhoo varagan' referring the avatar of vishnu as a wild boar to save the

earth. bhoo = earth. varagam = boar. and this dasavatharam stories, we know from time immemorial and

a 'dasavatharam set' is an integral part of every home's navarathri kolu. in that, varaga avataram carries the

globe in between his tusks. and there are references about these in all the puranas.

and our children's school books say that galileo found out this great truth, only some 400 years back.

and we also make them mug up without knowing what they are reading or understanding.

maybe the westerners knew only after galileo told them. then also they were not ready to agree and

put him to death. but not us, indians.

we have a word 'andam' meaning

the universe. the same word is used to refer egg also. this word is found in all the thamizh

literary works. actually it is a sanskrit word. in fact we derived the universe andam only from the egg andam, meaning the

universe is elliptical. for those who knew that the universe was elliptical, would the truth

that earth is a globe have not occured?

learn our culture, learn our heritage, be proud of it and take it to the next generation.

if you dont know where to start, start with 'deivathin kural' by ra.ganapathy. it is a compilation

of kanchi mahaswami's speeches.

kalellam nogudhadi from 'en bommukutti ammavuku'

no prelude, no interludes, simple beat, but what a song. 'kalellam nogudhadi' from 'en bommukutty ammavuku'.

it was released in april 1988, a thamizh new year release. directed by faazil and a remake of 'enda mamati kutti ammaiku'. it was the 2nd or 3rd serious movie i watched. and this one fdfs at chromepettai vetri theatre. i was adamant that i will not come to this movie. my brother insisted that we shud go to this movie as it is by a good director faazil.(actually we did not get ticket for any other movie nearby, later my brother revealed this)

it is a story about a couple who lose their child in an accident ( the child falls from a cruiser boat) and then adopt a child. after the bonding with the child, its original mother claims it and the child is given back to its original mother.

it starred sathyaraj, raghuvaran, suhasini, rekha and baby geethu mohandas. geethu, u wud have seen, went on to become the heroine of 'nala dhamayanthi'. baby shalini was introduced by faazil in its original malayalam version.

this song comes when raghuvaran persuades satyaraj to meet rekha, the original mother of the child. satya is not interested and gives some lames excuses and says he is busy. but raghuvaran says he will wait till satya's work is over and waits in a nearby ground. this song was not featured in the records and cassettes. so also 'kanne navamaniye'.

no prelude, suddenly the voice of raja sings 'kaalellam nogudhadi.........' something moved in my stomach. and i was spellbound for the entire 2 minutes of the song. satya's confusion, raghuvaran's predicament and the sadness that is going to prevail however the story ends, all are captured in this song by raja.

i was already emotionally disturbed by the title song 'kanne navamaniye' which comes 3-4 times in the movie. now this second blow was almost unbearable for a 13 year old, who had never undergone any emotional turmoil, till such time.

i understood what music can do.

the 'aelelo' by raja also beautifully coincides with a boat in long shot. in fact he wud have seen the rushes and kept the aelelo for that sequence.

both these songs were composed after the movie was finished and faazil was the lucky guy to get these 2 gems.

i still remember a review which read 'ella nadigargalum adakki vasithu irukkiraargal, geethuvai thavira', and that was in praise of the child artist. she was really cute and played her role very understandingly.

faazil also did a neat job'. particularly in the asylum scenes, a lunatic will be shouting 'kidaikkalada kandasamy kiddaikkalada' in the background which will be heard very feebly when geethu enters the asylum for the first time. and the same man will shout ' kidachidichuda kandasamy kidachidichuda' when geethu is handed over to rekha.

http://www.thiraipaadal.com/albums/ALBIRR00133.html

raja's ragatalamalika

raja has done a few numbers in ragatalamalika. this one from devi sridevi is a classic example.

http://raretfm.mayyam.com/stream/pow07/dasarathanin.rm


it is a hilarious situation where 2 or 3 heroes imagine singing with the heroine. just as 'inru poi nalai vaa'. but raja has used 4 ragas starting with abheri with 4 rhythm patterns. the other ragas i remember are shankarabharanam and kapi. mahalakshmi the heroine had a beautiful face inherited from her good looking parents avmrajan and pushpalatha.

my favourite line is 'my name is django, ellarum vaango'. this movie also has the song 'vaalibam vaazhga vaiyagam vaazhga'

also in 'karavai maadu 3 kalai madu' in magalir mattum. i right now dont remember the ragas, urvasi sings in anandabhairavi.

but in 'siriya paravai siragai virikka nenaikiradhe', he has used only charukesi but in 3 different styles. it can be termed style malika!!

ask steven

At Delhi, VVS Laxman scored his second Test double-century against Australia. Is he the only man to have scored two against them? asked Ravi Josyula from New Zealand In all Australia have now conceded 32 double-centuries in Tests. Apart from VVS Laxman, South Africa's Graeme Pollock also made two, while Brian Lara of West Indies hit three. Top of the list, though, is England's Wally Hammond, who hit four Test double-centuries against Australia - he made 251 and 200 in successive innings in Sydney and Melbourne in 1928-29, 231 not out in Sydneyin 1936-37, and 240 at Lord's in 1938. Dennis Amiss hit the winning runs in what turned out to be his last Test, in 1977 (Geoff Boycott returned for the next match, and the rest is history... ) Has anyone else since scored the winning runs for England but not played again? asked Marcus Berkmann The only man who has definitely made the winning hit for England in a Test, and then never played again, sinceDennis Amiss did so in the 1977 Ashes series at Old Trafford, is Nasser Hussain, who hit the winning run against New Zealand at Lord's in 2004, and announced his retirement shortly afterwards. As I write Andrew Flintoff also qualifies - he hit a six to win the Oval Test against South Africa earlier this year in his last Test to date. For the Statsguru table showing everyone who was in "at the death" of a win in their final Test, click here. It's a reasonable guess that about half of those players made the winning hit in their final Test - we don't always know who faced the final delivery (the list also includes some active players, like Flintoff, who will disappear when they play again). The Indian player Iqbal Siddiqui is an interesting one - he opened both the batting and the bowling and made the winning hit in his first Test, against England at Mohali in 2001-02... and never played again! Who has played in the most Test wins? asked Jeffrey Fernandes from the United Arab Emirates This particular list is dominated by members of the Australian side which has done so well at international level recently. Top of the pile, with 92 wins from his 145 Tests, is Shane Warne, just ahead of Steve Waugh with 86. Ricky Ponting is level with Glenn McGrath on 84 Test wins, then come Adam Gilchrist with 73, Mark Waugh with 72, Justin Langer with 70, and Matthew Hayden with 68. The first non-Australians are the West Indians Viv Richards (63 wins) and Desmond Haynes (60). South Africa's Mark Boucher recently drew level with Haynes on 60, while Jacques Kallisis one behind on 59. Ricky Ponting was out for 87, the Australians' so-called unlucky number, in the Test at Delhi. How many other Aussies have suffered this fate? asked Tony Bailey from Adelaide Ricky Ponting's 87 in the recent Test in Delhi was the unlucky 13th such dismissal in Tests for Australia. Two of them were collected by Clem Hill, against England in 1901-02 and 1907-08. The other Aussies to fall for 87 in a Test wereGeorge Bonnor (1882-83), Sammy Jones (1886), Victor Trumper (1910-11), Jack Ryder (1928-29), Jack Moroney(1949-50), Brian Booth (1963-64), Keith Stackpole (1970-71), John Dyson (1982-83), Peter Taylor (1989-90) andAdam Gilchrist (2000-01). For Jones and Taylor, 87 remained their highest Test score. There have been seven instances of an Australian batsman being out for 87 in one-day internationals - it's happened to Andrew Symondstwice. Nineteen bowlers were used in the Test between India and West Indies in Antigua in May 2002. Is this a record?asked Biswaranjan Behera from India That Test in St John's in 2001-02 was one of four in which 19 different players bowled. One of the others was also in Antigua - West Indies' high-scoring draw against South Africa in 2004-05 - while the other two both involved Pakistan: against India in Nagpur in 1983-84, and v Australia in Rawalpindi in 1994-95. But there has been one Test in which there were 20 different bowlers: when South Africa played England in Cape Town in 1964-65, the only people who didn't roll their arms over were the two wicketkeepers, Denis Lindsay and Jim Parks. I was wondering what was the highest first-innings score was in a Test by a team that went on to lose? asked Juan van Wyk from South Africa The highest score made by any side in a Test they ended up losing was 586, by Australia in their first innings in Sydney in 1894-95. England won that match by just ten runs after following on, the first of three such instances in Test history. In all there have been 12 totals of 500 or more by the losing side in a Test, the most recent being India's 532 against Australia in Sydney in January 2008. Steven Lynch is the editor of the Cricinfo Guide to International Cricket. If you want to ask Steven a question, use ourfeedback form. The most interesting questions will be answered here each week © Cricinfo

misra chapu - consolidated list

misra chapu is a syncopated taala having 3+4 =7 beats. it is represented by tha ki ta tha ka dhi mi. for easy usage you can say 123, 1234. if u repeat this 123 1234 while u listen to these songs u can understand what it means. very few have used this taala in film music. misram means 'mix'. since tisram and chatusram is mixed to produce this tala it is called misram.. we also have misra gathi or misra nadai which has seven aksharas for every anga (part) of a tala.. for e.g. misra gathi in adhi tala will have 7 aksharas for each of the 8 beats.


generally u will have 4 beats only, i mean most of the songs.of course raja always stands out.

the following is a list of songs composed in  misra chapu and misra gathi..

1. manasu mayangum - sippikul muthu
2. pon vanam - inru nee nalai naan
3. kalidasan - soorakoatai singa kutti
4. ayiram malargale - niram maradha pookal
5. meendum meendum - vikram
6. vayyari godharamma - preminchi pelladu (telugu)
7. om namaha - idhayathai thirudadhey ,geetanjali (telugu)
8. en jeevan paduthu - nee thaana andha kuyil
9. anbe vaa arugile - kili paechu kaetka vaa
10. isaiyil thodangudhamma - heyram
11. nadhiyil aadum poovanam - kadhal oviyam
12. ila nenje vaa - vanna vanna pookal
13. kannale kaadhal kavidhai - aatma
14. pottu vaitha - idhayam
15. paatale budhi sonnar - karatattakaran
16. gangaikkarai mannanadi - varusham 16
17. aruna kirana deepam - guru (malayalam)
18. aravamudhe endhan anbe ramana - rajavin ramana malai
19. thenral kaatre - kumbakarai thangayya
20. en kalyana vaibogam - azhage unnai aradhikkiren
21. muthamma muthu muthu - thandhu vitten ennai
22. gaana karunguyile kutcherikku - pandi thurai
23. oomai megame - kairasikaaran
24. ninaithal inikum - kalyanaraman
25. chella pillai saravanan - pen jenmam
26. magizham poove - pudhia adimaigal
27. vaanam bhoomi - nalai engal kalyanam
28. venmegam mannil vandhu - naan sigappu manidhan
29. naal dhorum - devathai
30. veenaiku veenai - ellame en rasa thaan
31. Chinna Kanna - Magudam
32. Indru Kaadhal – Malargal Nanaiginrana
33. Aararo paatu paada - Pondatti thevai
34. Hichki hichki - Paa
35. Chengadhir kaiyum veesi - Sneha veedu
36. Katrai konjam - NEPV Nee thaane en ponvasantham

the list continues.......

non-raja songs

1. poo vannam pola - azhiyadha kolangal
2. muthai thiru, thirupugazh - arunagirinathar
3. thenral oru talam thandhadhu - kanavugal karpanaigal
4.

poove nee yaar solli yaarukkaga malarginraai

this is one rare song from the movie 'thaniyaadha dhaagam'. music is by one A.A.RAJ. sung by malayasia and janaki. the movie had delhi ganesh in the lead. released in 1982.

the way janaki starts 'poove' with a bruga, is enough to make this song a memorable one. lyrics is also gud. some uma nagabhushanam has written the song.

poove nee yaar solli yaarukkaga malarginraai

naan paruva thottathil oru malar

unnodu paadida vandha pudhu malar

http://www.dhool.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/poovenee.rm

kalangale kalangale from 'kanimuthu paapa'

a poor man's version of kishore da's 'zindagi ek safar' from spb.

t.v. raju cud have better used the original background score itself . he has sodhapified the song to the core and omitted all the good aspects of the song and has tried something 'different'. 

thank god he left the 'yodelling' part as it is at least. the only great thing about this song is spb's voice and his 'udlayee udlayee ohooo'.

even the lyrics resemble its hindi version.

'vaazhkai enbadhu vaazhvadharke

varuvadhu varattum bayam edharku' 

the hindi lines goes like 

'maut aani hai, aayegi ek din,

jaan jaani hai, jaayegi ek din,

eise baaton se kya gabraana, 

yahaan kal kya ho kisne jaana' 

meaning, death will come one day, let it come, life will go one day, let it go, why worry about these things, who knows what is in store for tomorrow?'

i take a little pride being the first to upload this song on the net. it was to be found nowhere when i searched.  

http://music.cooltoad.com/music/song.php?id=390787 

hindi version from the movie 'andaaz'  

http://www.youtube.com/watch?v=clkTG0TFfEo

wasim, the maverick

i still remember the 1992-93 series of pakistan in england, where wasim and waqar shared more than 50 wickets among them. while wasim provided initial breakthroughs, waqar will cleanly wipe off the tail. wasim was the most versatile fast bowler ever. in his second half of the career, he almost had a runup of a spin bowler, but produced extraordinary fast bowling. i remember a pakistan tour of south africa, when the awestruck commentator wondered, ' what a bowler this man is, this over had six different balls', and the great gavaskar was that commentator. waqar was the fastest of his times, asking the batsmen,'what do you want your leg or the stump'? with his highly precise swinging yorkers. a great duo. now read about one of them. wasim, the maverick. Specials | Sanga's Favourites >> The sorcerer His deception and the ability to test every part of a batsman's game made Wasim Akram truly great November 7, 2008 The left arm of God © Getty Images Wasim Akram was the master swing bowler of the modern era. With Waqar Younis he formed one of the most lethal fast-bowling partnerships in the history of the game. When Wasim and Waqar were in their pomp during the mid-1990s they were a formidable force, decimating batting line-ups, and making Pakistan one of the world's best teams. Wasim provided a finesse in his bowling that was rare in fast bowlers. Waqar, the perfect foil, pounded in to bowl fast and furiously. He also had great skill, but Wasim was the magician when it came to deception. I only played against Wasim on a handful of occasions at the tail-end of his career. The first time was in the Champions Trophy in Kenya. He bowled just one delivery at me - a fast, skiddy bouncer that I ducked under. The next time was in Sharjah, where he uprooted my stumps with a vicious, swinging yorker with the new ball. The only time I prospered was in an innings in Morocco, back in 2002. During those brief encounters I discovered first-hand just why the world's great batsmen, the Tendulkars, Laras, de Silvas and Jayasuriyas, spoke of Wasim with such awe and respect. Wasim was probably the most skilful and deceptive fast bowler I have watched. Nothing was ever the same twice in a row. He tested every single part of your game as a batsman, probing away for chinks in your technique. He would seem to be rushing towards you at the end of his run-up. He had great balance and a quick arm action, coupled with very strong shoulders, and had the ability to bowl deliveries that could be anywhere between 120 and 145kph with no discernible change in his action. This rapid change in pace from one delivery to the next was lethal. Long before I seriously thought about a future career in cricket, I remember watching two of the most unforgettable deliveries ever, in the final of the 1992 World Cup. England were chasing 249 for victory and going well on 141 for 4 when Wasim came back for a mid-innings spell. The first ball was the one round the wicket to Allan Lamb, England's match-winner during that period. The ball seemed to swing into the batsman, only to nip away at the last minute and take his off stump. It was a wicked, unplayable delivery. The next was perhaps even better, swinging about two feet to bowl Chris Lewis first ball. Lewis looked dumbfounded. These deliveries were produced in the middle of the innings with the old ball. It was this unmatched ability to reverse-swing the ball that was Wasim's hallmark. It was an ability that was dogged by controversy, with many accusations around the world that reverse swing was the product of ball-tampering. I think these controversies took the focus away from what was a supreme skill. Fast bowlers need to be able to bowl on any wickets with a ball that's in any condition. That is the true test of a bowler's skill. Wasim was able to do that. Flat pitches, slow pitches, quick pitches - he was an ever-present threat on them all. Some quick bowlers thrive only when the pitch has zest and lift; not Wasim. I remember being on tour in Bangladesh when Wasim was a TV commentator. We invited him to share the secrets of reverse swing with our team. He was happy to do so. Indeed, he was always obliging and quick to share his vast knowledge and experience with us and other fellow cricketers.     Wasim was probably the most skilful and deceptive fast bowler I have watched. Nothing was ever the same twice in a row   He told us how the fielders and the bowlers needed to take the utmost care to prevent any moisture touching one side of the ball, so it could become rough, while keeping the other shined and smooth. He then explained in detail the complexities of wrist position, arm speed, and angles. It was fascinating. Wasim's cricket career was not always smooth. When he was captain, there seemed to be regular rumours of dissatisfaction within the team. Pakistan has historically been a team that has always suffered from partisanship and power struggles, and captains of Pakistan have always needed to be very strong mentally to be able to withstand the pressures of leading a hugely talented but sometimes temperamental side. Talks of petitions being signed against the captain, of the captaincy changing hands, were a constant reality for Wasim when he was in charge. Yet, for all this pressure and the nasty off-field politicking, it's a testament to his strength of character and his zest for the game that he still became a true legend of the sport; a man who could make the cricket ball talk; a man who was a lethal bowler at every stage of his career, and who would still be so if he decided to pick up a ball today. He played the game hard and with skill, lived life fully, and let his skill rise above petty controversies and squabbles. If I were given the opportunity to challenge my skill as a batsman by picking bowlers from history whom to face, Wasim would be an automatic choice. Perhaps the greatest tribute you can pay him is that in the current era of fast bowlers there is no one who can be judged to be in the same class. He was a once-in-a-generation cricketer who lifted fast bowling to new levels, and helped carry Pakistan to the top of world cricket. A true legend. © Cricinfo if u r not able to see this post properly visit the following link. http://content-ind.cricinfo.com/magazine/content/story/377268.html

raja and raga 'agni kopam'

u wud have read about the raga 'agni kopam' sometime back.

s g m p n s / s n p m g r s.

similar to sudha dhanyasi and abheri. 

s g m p n s / s n p m g s -sudha dhanyasi

s g m p n s / s n d p m g r s - abheri

first two are janya ragas of natabhairavi . abheri is a janya of karaharapriya.

masi masam aalana ponnu from dharma durai is in this raaga. i will give u the first few notes. the edupu is from upper shadjamam.

ss......nn......... pp m.....gmp..... gg.......rn.........srs......

masi maasam aalaana ponnu maman enakku thaane...

while u read this, it may look the simplest tune in the world. yeah maybe. but what a great melody. great things are always simple. 

sung by kjy and swarnalatha.
http://www.thiraipaadal.com/TPplayer.asp?sngs='SNGIRR0636'